私房菜馆.pdf

私房菜馆.pdf
 

书籍描述

内容简介
《私房菜馆》一书以中式风格餐厅为主,从风格特征、氛围营造、元素的利用等方面展现中式餐厅设计的庄重与优雅,传递私房菜馆独有的气质与内涵。

编辑推荐
《私房菜馆》案例风格鲜明,设计新颖,构思精巧。在现代的背景下,以中式传统的意境营造雅致的就餐氛围,以复古的笔触打造出一处处引人入胜的私密就餐环境。其空间氛围的营造尤为突出,不仅传达出空间所蕴含的文化与理念,而且对读者具有有很高的参考价值。

名人推荐
不知何时开始,人们对酒楼食肆的喧嚣变得有些厌倦了,热爱美食者钻进横街窄巷,寻找美味佳肴,还有那份流失已久的恬淡心情…… 所谓私房菜,也就是在私密的自家厨房里烹制而成、无所谓菜系,无所谓章法,只要别家没有,只要味道独特。独特的味道需要独特的环境,别无他家的菜式必然不能在千篇一律的室内空间里享用,于是私房菜馆的独特与私密成为室内设计的一大亮点。
  “私房”两个字本身就包含了太多的隐秘,太多的诱惑和太多的期待。私房菜馆的设计很讲究,须带点私密性,沉稳内敛不张扬。现代人吃私房菜,不单在吃身份,也是在吃文化。私房菜馆从环境到服务所蕴涵的文化气息,让人们在独特的氛围中享用一份精细的美食。《私房菜馆》便集萃诸多私房菜馆,以设计师灵巧的手法营造出氤氲、大气的中式就餐空间,让就餐者在如此雅致的餐饮空间中舒缓心情,享受精致的雅淡之宴。

目录
北京广泽汇
Beijing Guangzehui
聚春园驿馆
Spring Park Posthouse
同兴和会所
Tongxinghe Club
醉东方
The Intoxicating East Restaurant
天意小馆
Tianyi Restaurant
桥亭活鱼小镇
Qiaoting Live Fish Town
喜悦西餐酒吧(万象城店)
Xiyue European Cuisine Bar (Wanxiang City Store)
这一锅台北中山北店
Top One Pot Zhongshan North Store
这一锅朝富店
Top One Pot Chaofu Store
北京鹤一烧肉
Tsuruichi Beijing
石家庄春秋茶楼之五间房
Five Rooms in Spring and Autumn Teahouse, Shijiazhuang
轻井泽三多店
Karuizawa Sanduo Store
火炬餐厅
Flare Restaurant
皇家君逸餐厅
Royal Jun Yi Restaurant
九里河餐厅
Jiuli River Restaurant
蓬莱怡景餐厅
Penglai Yi Jing Restaurant
三亚七仙岭西餐厅
Sanya Qixian Ridge Western Restaurant
南池茶舍
Namche Teahouse
梅林阁
Plum Trees Pavilion Restaurant
日式餐饮“上海烟雾”
Japanese Dining "Kemuri Shanghai"
望洋楼南青山店
Bouyourou at Minami Aoyama
潮泰轩
Chao Tai Xuan
Edge 餐厅
Edge Restaurant
唐坊酒店
Tangfang Hotel
翡翠拉面小笼包荃湾店
Crystal Jade Restaurant, Tsuen Wan Store
大牌档餐厅
Da Pai Dang Restaurant
融餐厅
Rong Restaurant
台中八道藏
Ba Dao Cang Restaurant In Taizhong
太古仓蓝韵法国餐厅
Le Grand Blue At Taigucang Dock
烧肉孙三郎
Japanese BBQ Restaurant Magosaburou
港丽餐厅
Charme Restaurant
北京寿州大饭店SPA 馆
Beijing Shouzhou Hotel SPA Club
北京寿州大饭店
Beijing Shouzhou Hotel
海寿司庆城店
Hi Sushi Qingcheng Store
科隆巴赫音乐餐厅
Krombacher Music Restaurant
老龚家宴
Lao Gong Jia Yan
老台门酒会
Temen Wine Club
正山堂
Zhengshan Tang
百花琴台西餐·语茶
Flowers Qintai Barbecue Restaurant
巴伐利亚西餐厅
The Bavarian Western -Style Restaurant
Ellas Melathron Aromata 餐厅
Ellas Melathron Aromata
CB 餐厅
CB Restaurant
麦卡利斯特大厦
Macalister Mansion

序言
As the Chinese saying goes, "food is the paramount necessity of the people." China has a long history of food culture, which differs in different regions in this great country. Chinese cuisine is called "art appreciated by tongues" by its people. The desire for food is part of human nature, and the dietary habit can reflect the spirit of a nation. Nowadays, catering industry has become inseparable in our daily life.
 A dozen years working experience in catering industry has gifted me some perception and inspiration, but I'm still shallow in this area. I esteem it an honour to be invited to preface Private-Dish Restaurants by Huazhong University of Science and Technology Press. I'd like to take this opportunity to share my opinion about "private-dish restaurants" with the readers and industry insiders.
 Contrary with popular business catering, private dishes are different with the dishes supplied in star hotels and conventional social catering. They are unique and featured. You will feel at home and relaxed in private-dish restaurants, which is quite different from your experience in conventional business restaurants and hotels.
 In my humble opinion, three factors should be taken into consideration in the design of private-dish restaurants: the first is to relax the dining environment, the second is to romanticize the whole atmosphere, and the last one is a deep planning based on dining procedure, such as tea
 service before the meal, special performance at meal time, and recreation after the meal. The feature "private dishes" should also be reflected in the design.
 What's more, it will be better to attach importance to the connection between the design of private-dish restaurants and courtyard, tea room, study, piano room. Humanistic spirit, the restaurant owner's view of life and traditional culture like tea ceremony and incense lore will add much spiritual connotation to the restaurant.
 Private dishes are often related to cultural connotation, therefore, specific history and culture carried in a dish can find expression in the interior design, such as decorative style of the restaurant interior, furniture of a particular period, and even a doorknob. This kind of combinational planning will make a reminiscing and choice private-dish restaurant. It does not mean, however, do indulge the design in retro, but just to diversify the ways of expression.
 It's worth noting that uncreative expression of cultural connotation of private dishes will just make a stuffy design which only presents a certain historical feature but lose the spirit of time. Therefore, an artistic expression of cultural connotation should remember to present the implication of culture. For example, in the center of a courtyard, a basin of rock with water and fish in it will be a metaphor of "the raining water merges into the hall" in a Shanxi Courtyard House. In this way, without need of building the whole place into a Courtyard House, an image of courtyard is established. This is the artistic expression of implication.
 The practice of mix and match in the design will lighten the whole space. Let's take a look at three shining examples. Example one, in the moment the guest opens the door, he will meet a doorknob made from an idea of cloud, and a traditional Chinese landscape painting on the door. Example two, to hang on the wall a traditional Chinese Landscape Painting with carved wooden fish in it will increase the delights of the environment. Example three, paint color on Ming-style furniture of hardwood or make the Ming-style furniture of stainless steel, copper or acrylic materials. The mix and match style will bring a fresh air and much fun into the private-dish restaurant.
 In this day and age when traditional culture is getting revitalizing, people not only appeal for cultural inheritance, but also yearn for fashion and art. This mix and match concept will be met with postmodern technique of expression in the design, which will bring about unexpected beauty.
 The book Private-Dish Restaurants will soon come out. I believe that the readers will benefit and lean a lot from the excellent works, the designer's wisdom and the editor's effort in this fascinating book.
  
  历史演变中形成了不同的风格,中国人还把“中国菜”称之为“用嘴巴鉴赏的艺术”。食色,人之本性也。一个民族的饮食习惯最能体现一个民族的精神,时至今日,餐饮行业已与人们的日常生活密不可分。
  我也是在这个行业一晃十几载,有所感悟,但也时时觉得无知颇多。这次受华中科技大学出版社邀请为《私房菜馆》一书作序,倍感荣幸。在此,也愿意就“私房菜馆”这一话题与行业人士及广大读者作一探讨,希望见仁见智。
  私房菜,是相对于主流商务餐饮而言的。从经营定位来说,它有别于星级酒店的餐饮和常规的社会餐饮,这使其具有私家收藏性和特色性。从出品的特性来讲,与私房菜对应的环境设计,意味着反正统商务的居家性和休闲性。
  我个人主张从生活角度入手来思考设计的定位,一顿美餐,是可以给人带来快乐的,那就意味着要考虑三个方面:其一,如何让就餐氛围轻松下来,营造清新休闲的气场;其二,如何增强环境浪漫的味道;其三,基于就餐程序的深层规划,如餐前喝什么茶,餐中有什么特别节目可以给客人带来惊喜,餐后可以玩什么,以便结合私房菜主题进行特别设计等。
  此外,还要考虑与主体功能的链接、延展,与庭院的链接,与茶室的链接,与书房的链接,与琴室的链接,与茶道、香道的链接,与人文精神和主人生活观的链接,因项目而定,不拘一格。
  私房菜具有很强的文化性。在设计组织方面,要把私房菜有关的历史文化提炼植入,如内建筑风格、历史典故、特定时期的家具,甚至细致到一个门把手,尽可能地与主题有着某种渊源。这样的组合规划,很容易为私房菜营造出强烈的“追忆”特征和“考究”的经典印象,但这并不意味着“一味”复古、因循守旧,表现手段反而可多元化。
  文化的素材,要符合与私房菜相关的历史特征,但在应用方面要用表意的艺术手法,只沿袭那个历史时期的摆设就会显得很古板,缺乏时代精神,所以要使用表意的手法,如内庭院的设计,中间就放一个门海(石盆),里面放上水,养上鱼,隐喻山西民居四合院中“四水归一”的意象,就可以表达出庭院的印象,不必把周边环境都做成四合院的建筑形式,这就是表意。
  作为私房菜,要进行生活感的塑造,在概念、气场的塑造上还要注重空间的混搭,表现一定的功能,如客人们打开门的一刹那,“门把手”是云的创意,门上刻的是中国的传统山水画;再比如表现水,用国画笔墨做山水图挂在墙上,水中的鱼是用木雕刻而成的,与二维的国画相结合,这样,环境的趣味性就很强烈了。
  将传统的明式家具,刷成彩色或做成不锈钢、铜制、亚克力材料的,这些混搭的手法都给客人带来眼前一亮的感觉,给私房菜的环境带来崭新的气息和无限的趣味。
  东方文化复苏的今天,当代人对传统的传承有诉求,同时又渴望时尚和艺术带给人的惊喜,当代人对事物的认识和观念本身就是混搭的,在设计中运用有时会带来意想不到的效果。
  《私房菜馆》一书即将付梓,其中收录了当代很多优秀作品,凝聚了编者的心血,汇集了设计者的智慧,希望其别具匠心的安排,会让我们有所收获、有所借鉴。


 A CCTV documentary A Bite of China elaborates the relationship of food and culture around China. Take flour-made food for example. There are hundreds of types of eating flour-made food in China. If we look form another aspect, Chinese cuisine culture has developed to a stage that people enjoy the whole process of dining instead of just satisfying human palates. A dining space is a place for gathering and communicating. As a dining space designer, I'm always thinking about who will come to a restaurant and what do they need there. When designing a restaurant in a big city, a designer should remember that the guests'mental feeling in the restaurant is more important than their stomach feeling. This is a very interesting rule that reminds me of the process of making dumplings in the families of northern China. The key point in this process is family communications. A good communication will lead to a dumpling feast, and a bad one may make the dumplings unpalatable.
 In the year of 2013, I have been to several countries for work and award reasons. I travelled to Fukuoka and Tokyo in Japan. In Fukuoka, I visited Starbucks and Kyushu Geibunkan designed by Kengo Kuma. In Tokyo, I also visited Kengo Kuma's works, Nezu Museum and Asakusa Culture Tourist Information Center. I appreciate Mr. Kengo Kuma's works a lot, which are perfect integration of culture and business. In the end of 2013, I went to Paris and visited Camelia at Mandarin Oriental, and Miss Ko designed by Philippe Patrick Starck after work. The two restaurants tell us the growth of life and creativity, which is very exciting.
 Looking back at the past decade of architectural design in Beijing, we can find the repetition of "construction and abandonment". The decoration of even a large hotel or restaurant could not live long there. We can often come across a restaurant with decades-old decoration abroad. In China, however, the decoration of a restaurant has durability of only five to ten years. I hope that the life of our dining spaces can be prolonged by designs. The market-oriented decoration of a restaurant should live for twenty years or even more than a hundred years. We can try to achieve this aim though "slow design" which can be interpreted as this: to design and decorate a restaurant little by little, perfecting the completed, appreciating the matured, having fun in the collocation of various materials, and enjoying the compromise of creativity and technique, instead of finishing the design and decoration in three months without a break. Time-consuming and difficult designs and projects are always most fascinating, and the Forbidden City in Beijing is a typical example. Therefore, I conclude that designs born out of a compressed time are weak in power. However, a problem that Chinese designers are facing is that low-cost projects which demand the reduction of time and the pursuit of speed are still the mainstream in this field.
 Private-Dish Restaurants is a wonderful book which assembles dining spaces of all sorts and full creativity. When a designer starts to design a restaurant, he should recall Naoto Fukasawa's "product fitness 80" advocation which means "cutting excessive material desires to live a fit life",
 just like the philosophy of an old Chinese saying "Eat until you are eight percent full". An ordinary but comfortable chair is always silently playing a practical and important role in your daily life.
 
  央视纪录片《舌尖上的中国》告诉我们:中国各地的饮食与当地文化的关系,单单面食大江南北就有上百种吃法,从另一个角度来看,中国饮食文化发展至今,人们对于饮食已经不仅仅是满足口腹之欲,而是享受整个用餐的过程。餐饮空间是人与人聚集、交流的场所,所以作为餐饮空间设计者的我,时常会想什么人会来这儿,什么是来此的人所需要的,因为在设计大城市的餐馆时,心理因素远比生理因素要重,这个过程其实令我感到最有意思,就像是北方人在家包饺子,重点在于包饺子过程中人与人之间的交流,交流得好结果就是水到渠成,交流得不好水饺吃起来可能就索然无味了。
  我在2013 年,由于工作与获奖的原因得以到访世界各国。日本去了两趟,在福冈参访了隈研吾的福冈星巴克与九州艺文馆,在东京则去了根津美术馆与浅草文化中心,我很欣赏他的作品,总是能将文化与商业结合得那么流畅。年底去了巴黎,工作之余到访Mandarin Oriental 的Camelia餐厅,又去了菲利普·斯塔克设计的Miss Ko餐厅,感受建筑师的创意与生命的延续,真是太令人激动了。
  回顾北京十年,便知我们设计师不断的重复“建造与废弃”的设计过程。即使设计、装修一个面积很大的酒楼或餐厅,它们的使用寿命也很短,很快就损坏了。在国外,我们常常可以光临装修超过数十年的老店;在国内,一家餐厅的装修却只有5~10 年的耐久性。我希望能透过设计来延长餐饮空间的生命力,一个餐厅的设计仅仅因为市场的需要,也应该被保留二十年,甚至上百年。因此,我们应该思考尝试着“慢设计”。 例如,我们试着不要在3 个月内一口气将一家餐厅连设计带装修都完成,而是让它一点一点的完成,一面打造,一面将已完成的部分进行完善,并欣赏它的老化,感受各种材料搭配运用的乐趣,享受创意与工
  艺的碰撞过程。同时,一点一点的动手将装修搭建起来,因为耗时费事的设计与工程是最吸引人的,我们北京的故宫就是典型的例子。因此,我认为压缩时间而产生的设计创意,其力道是弱的。不过,环顾四周,不想花时间,只想追求速度,降低成本的项目还是主流,这是我们设计师要面对的课题。
  《私房菜馆》是本绝对精彩的书,它聚集了五花八门、创意十足的餐饮空间,当我们提笔设计餐饮空间时,也许可以忆起深泽直人先生所提倡的:“物的八分目”,说的是“减低过高物质欲望的体认,达到生活更适切平衡”, 如同老祖宗所说,“饭要吃八分饱就好”。例如,一把看似平凡却很舒适的椅子,永远都静静地在生活里扮演实用且重要的角色。

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